Soundings continues my exploration and manipulation of found sounds and field recordings to create textures and pointillist staccato notes of sound which I set against quiet piano phrases and shimmering electronic treatments. I’ve become fascinated with the quiet sounds of people within interior spaces – footsteps and talking or even whispering. I’ve recently found myself recording in, not only churches and art galleries, but more unusual spaces such as train stations and tunnels. Additionally, the sound of voices that are often rendered so faint and buried so deep that they become unintelligible, simply leaving a trace of speech.

A new element in my recent work however, is the addition of other musicians. My on-going collaboration with Dutch, ambient musician, Anne Chris Bakker is represented here on ‘Winter on Noorderhaven’ and ‘Happenstance’, to which Chris adds beautiful guitar and other ephemeral sounds, along with Stéphane Marlot – an elegant cello addition on ‘Days In-between’ and Bill Howgego who plays stunning clarinet on ‘A Break in the Clouds’.

“Praised as a sort of progressive sound and ambient music torchbearer of a genre renowned for such luminaries as Brian Eno and Hans-Joachim Roedelius, Andrew Heath’s own experiments in the field lean towards the reification of the fleeting, disturbed and ephemeral quiet traces of ‘people within spaces’. The self-styled composer of ‘lower-case’ minimalism evokes enigmatic, mysterious and occasionally mournful passages of evolving, passing time through the use of found and created sound manipulation and in-situ (a concatenate theme that connects to Heath’s site specific video art) field recordings.” – Monolith Cocktail.